Dialogues
des Carmélites is a tremendously
powerful operatic experience. It is most famous,
perhaps, for the coup de théâtre
with which it closes - the Carmelite nuns
of the title are guillotined, one by one,
while reciting the Salve Regina. But the fact
remains that inspiration is uniform throughout
the work, something that came across strongly
in this superb realisation by the Benjamin
Britten International Opera School at the
Royal College of Music. The collegeís small
theatre added intimacy to proceedings while
simultaneously enabling emotions to register
very effectively.

Carmelites
was written between 1953 and 1956. It centres
on the concept and difficulties of faith in
the most pressing of circumstances, especially
around the issue of martyrdom. Poulencís identification
with his problematic subject led to an almost
obsessive compositional approach, and his
belief in the power of his subject comes across
strongly throughout the score.

Under
Jude Kellyís direction and with Michael Valeís
simple, often minimal sets, the plight of
the Carmelite nuns and the religious crises
of the operaís major character, Blanche de
la Force, took on huge emotive force. One
small caveat: the nuns moved to modern dress
for the prison scenes of Act III (Scene 3
onwards), an effect that did not totally convince
and, indeed, jarred somewhat.

All
credit to the multi-national cast for singing
in such convincing French (the performance
was surtitled). Swedish soprano Klara Ek took
the part of Blanche on this occasion (the
role was shared in the run with Martene Grimson).
Ek has a light voice that suited the part
of the young girl turned nun well, and her
pitching was superb. As if that were not enough,
at times the voice could be positively luminous.
She acted the part well, too, bringing impetuous,
yet impressionable, youth to her portrayal
and, in the end, great strength.

Sister
Constance plays an important part as Blancheís
friend and confidante. Another Swede, Malin
Christensson, did the honours and was magnificently
confident. Her voice acted as the perfect
foil for Blancheís (as could be heard particularly
in the duet in Act II).

Of
the other singers, Mother Marie (Australian
Katrina Waters) could have done with more
projection (yet she had all the requisite
stage presence) and New Zealander Ana James
as the New Prioress similarly could have been
stronger. Thomas Walker (Chevalier) sang with
real power and was the best of the few male
roles. Claire Turnerís Old Prioress came across
as well as a young singer impersonating the
dying aged can be expected to.

Jan
Latham-Loenig (who himself passed through
the Royal College) paced the opera expertly
throughout and drew generally excellent playing
from his student orchestra. His reputation
in the French repertoire is well-established,
and the present occasion served as confirmation
of this (try his superb recording of Ibertís
Persée et Andromède with
Strasbourg forces on Avie
AV0008). Note
also that his interpretation of Carmélites
is available on DVD (see recommendations below).

Colin
Clarke

Further
Listening

Recording:
Soloists, Paris Opéra Chorus and Orchestra/Dervaux.
EMI Great Recordings of the Century 562 751-2

Review
IndexesBy
Label Select a label and
all reviews are listed in Catalogue orderBy
MasterworkLinks
from composer names (eg Sibelius) are to resource pages with links to
the review
indexes for the individual works as well as other resources.